“You don’t think so?” my friend asked, as she popped the top of her second Lone Star. Not of the night, her second concurrent tall-boy. Double fisting might be frowned upon in some social situations, but it was a cold December night and the transient guests of the venue swirled about unfettered by norms or lucidity. My friend was trying to explain the concept of seasonal music to me, so once I understood her point despite her vague meandering I cut her off. We were at the old Emo’s anxiously waiting for Youth Lagoon’s set to begin, and she was trying to convey that Trevor Powers’ music is equally relatable in cold and hot months, though the low temperatures around us were in the front of our minds. “I think most music is…” I tried, but getting an edge in wordwise would mean her diatribe was over. Regardless, it goes to say that most music isn’t bound by the confines of a particular season or temperature, though many are. Listening to Best Coast in the winter once made my brother’s head explode.
When I first listened to Matt Wertz, I was stuck in a similar categorizing quandary. Upon cursory observation, his music struck me as wholly summery with his crisp guitar plucking and honest voice. His records might get lots of summer spins, but as autumn is almost in full swing his music doesn’t diminish in relevancy. Instead, his music has turned out to be equally playable across seasons and even his poppy summer hits stand true, if only to bring us back to warmer times. He’ll be coming to the Parish this Saturday, which in Texas is close enough to the summer anyway, with doors at 8 and an opening set by Steve Moakler. Some might debate over whether it’s summer or winter music, but we can all agree it’s great music.